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The Weakening Of Divinity: The Social Gaze Of Mianzhu Woodblock New Year Pictures

Posted on:2017-01-07Degree:DoctorType:Dissertation
Country:ChinaCandidate:Y YangFull Text:PDF
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The production and consumption of Mianzhu New-year Printsis originally as a cultural symbol.With the cultural transformation,its production and consumption has changed ultimately.Before the cultural transformation,Mianzhu New-year Printswas a typical folk custom sign and belonged to daily consumer goods by the folk beliefs.Producing New-year Printss was one of the means to make a living for the local.The price was assessed by different papers,pigment and labor-hours.The customers purchased different New-year Printss on their own financial situation.People purchased New-year Printss to express their worship to the Gods,to decorate or to highlight their status.The production of New-year Printss leaded the consumption.After cultural transformation,the MIANZHU New-year Printss were sold throughout the country as a cultural symbol,which were influenced by market economy and diverse cultures.To maximize the profits,the producers expand their horizons to meet the consumers' demand.The diversity of consumers improved the renovation of MIANZHU New-year Prints.Its production became more specialized and better.Localized consumption of MIANZHU New-year Printsgradually became to mass consumption.The labor cost and labor hours did not involve in determining price.The determination of price was according to its cultural level and cultural orientation.Based on this background,the research will focus on explaining how the local arts,MIANZHU New-year Prints,develop in different eras.Through the above analysis,the paper formed the view that there is:Firstly,to analyse the relationship between the gazers——society,gazee——MIANZHU New-year Prints,and to make clear the Bidirection of gaze.New-year Printsis in accordance with the building space representation of god,even in its development process and a wide variety of derivatives which has the function of aesthetic and enlightenment art subjects,divine worship is the root of it in the first modern society to transmit.Our house is a space,cultural space,the space of human relations in society,is also god's communication space,one in the house of god,establishes a person to stare space imagination,the gaze of imagination is the collective unconscious,it is transforming in People's Daily rituals,only at a certain time to be stressed and revealed.New-year Printsof space to fill,figurative and strengthened the people stare in the space and the people of "god" gaze.Craftsmen to "god" the art of processing produced a certain visual effect,and then by the publicSecondly,consumption as a cultural symbol of New-year Printswith two different forms of cultural identity,that is at the core of folk symbol consumption and non-core folk symbol of consumption.Leading production and consumption-led change in different periods,so that consumption as a cultural symbol of New-year Printswith two different forms of cultural identity,that is at the core of folk symbol consumption and non-core folk symbol of consumption.The former is more emphasis on new-year print 's "private" identity,all creation and demands based on the people,common people for New-year Printsgaze also comes from the folk rituals,are fixed,no difference.The latter more emphasis on New-year Printsto "folk" identity,all creation and pursuit are constructed on the folk,the gaze is no longer a single New-year Prints,more is gazing at multiple towards new experience and new culture brought about by the visual identity.Thirdly,Divine directly lead to the decline of social gaze towards new-year pictures,and the state of god's gaze of dangerous,broke the space position of folk gods,they are enclosed in a "superstitious" field,even in today's cultural diversity,is still as compulsory education courses as "superstitious" on to the next generation of China.Without the true god,in the New-year Printsto folk custom,the core of consumption has been weakened,replaced by the society after gaze towards the diversification of production.It transformed from the early "folk custom" into the "decoration of the folk" in modern life,from the outside into the house,by the paper into any space to express the symbol.In 1949,the influence was never stopped since the intervention from top to bottom of the country's power to new-year prints.And it could not avoid that the guiding of power was the important element to the development of the New-year Printstoday.And it changed New-year Printsby the original imagination to power products which were monitored and disciplined.The production of artists,the participation of businessman,the motivation of consumers,the comments of specialists and scholars,and it also included the local elites' attitudes,the displays in the museums,New-year Printsvillage and festivals.All of these were under the monitor of country's power.It was to say that the power has permeated to New-year Printssince 1949.So it will be the important point to the research of new-year prints,we hope that it can form a relationship between power and New-year Printswith the help of Foucault's theory of staring point,and then it can form a type of conversation with the power of Foucault's theory.In the research,we find that the staring projected in the New-year Printsis not for personage or one group,but for the Chinese society except small part of people.So the subject of New-year Printsshould be sociality,the turn of staring should be sociality.Mainly displays goalkeeper which represent the faith and worship.The folks refer to the meaning of goalkeeper as the traditional continuing.And most of the New-year Printsrepresent decoration and joyous.New-year Printsartistsgaze goalkeeper and the belief of sacrifice,and with the help of technical support.So the New-yearPrintstake the place of Taofu.And the production of New-year Printsbecomes the part of people's livelihood.Under the background of modernism,if the techniques of artists want to continue,it is no doubt that they will face the new expanding market,and the direction of production will change.The new-year print businessmen pay more attention to the turning of the market,escaping from which the folks pay attention to.And becoming the big winner using the new-year print's marks to build a new market.The countries(including the local governments)refer to New-year Printsas the expression of “keeping tradition” and the important culture resource.But most of specialists and scholars refer to it as “good tradition”,Characterization of agrestic art and expression of "cultural consciousness".Through the research and analysis,we can extent our perspective to the development of all folk arts.New-year Printsof social gaze towards the diversification of development,it represents the whole gaze towards the outcome of the development of folk art.We can take this research Angle of view to watch each kind of local art,finding the theories which are same or not.
Keywords/Search Tags:MIANZHU New-year Prints, cultural transformation, social gaze, authority
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